Part 1
Hey Joe,

Big fan of Narc (one of my favorite movies) and HUGE fan of White Jazz (one of my favorite books) so naturally i'm really excited that you're directing. No. 1 question, though, will Dudley Smith be in your adaptation?

Thanks, Adam

Adam:

Dudley will unfortunately not be part of the adaptation and that grieves me to no end. If you're a fan of the books then you know that he was alive and well, albeit chopped up at the end. Since the film LA Confidential made the choice to off 'The Dud' at the end and I'm treating this film like a sequel to that one, my brother and I, in writing it, chose to create a new character.

I hope this doesn't send all those Ellroy fans off the rails. It's a really great adaptation though and I'm thrilled to get into it.

JC

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When Narc came out, it was a well known how much trouble and sacrifices you went through in order to get it made. How did the experience of getting Aces made compare to the Narc experience?

Chris Anthony

Chris:

Two things: Money and Honesty. I can honestly say those two things best described my experience of making 'Smokin' Aces' versus 'Narc'. We weren't blessed with the best intentioned of investors on NARC and we paid the price in delays, duress and general disgust. These were not the most forthright cats in the biz. On SMOKIN' ACES however, I had both Working Title and Universal on board, so it was a pretty smooth sail. Also I didn't have to worry about them unleashing a torrent of bullshit to cover up for misappropriated funds and the like. They were straight up in their dealings with me. I don't mean to sound all pissy. NARC was made exactly the way that film should've been made. The strain and dread and angst that hung over that production, seared itself into the completed film, so while there was little joy on the set, the end result was well worth the hassle.

JC

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Hi Joe.

How do you think this movie compares to movies of the same vein like Snatch, True Romance or Pulp Fiction? What is it about Smokin Aces that separates it from the rest in the Crime Comedy Genre?

Good luck with the movie and i hope you rule with White Jazz!!!

Cheers, Santiago

Santiago:

It separates itself in a number of ways, but I think most profoundly, it is a movie that requires you to invest in and care about, every single character on-screen. I don't throw anybody away and there are no small parts, so everyone that you see is pretty important. I want you to have to engage on some emotional level, somewhere in the film and I wanted to avoid this movie becoming an overly-hip exercise in style and deal more in substance. Whether or not I was successful is up to individual tastes. But I hope you'll dig the experience.

JC

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hey Joe,

I'm a big fan of movies, but if I had to pick a favorite genre, it'd be crime.I like seeing monsters,aliens,and people weeping as much as the next guy,but i'd much rather see some guys get slaughtered over a suitcase full of dirty money/drugs/dirty drugs.I get the feeling you have a soft spot for crime cinema as well.So tell me, What are your favorite crime movies?Inspirational or not.

Michael Martin-del-Campo
Visalia,California

Michael:

So many movies, so little time. Some of my favorites are as follows: Brute Force, The Killing, Point Blank, The Getaway, Bring Me The Head Of Alfredo Garcia, The Anderson Tapes, Killing Of A Chinese Bookie, Blood Simple, Heat.

But that list goes on man, those are just a few off the top of my head.

JC
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Joe,

What was it like working with cruise on narc and with the so called creative differences with MI:III(which saw you leave the project) would you still consider working with the guy again?

p.s you need to do a movie with Jason Statham

Daughters

Daughters:

Cruise was instrumental in getting NARC out of the small art house circuit and into big Paramount where they really pushed it and gave it a reasonable wide release for what was a 3 million dollar film. So I've got nothing but love and admiration for what he did.

Now. MI3. We're not only talking a horse of different color, we're talking about an armored plated Trojan Horse, seven stories high. Going from a flick like NARC and its pittance of a budget, to the stratospheric amount we were about to spend on that flick, is akin to a newborn, starting at Quarterback in the Super Bowl. It's difficult enough to make a film, but when you develop opposing agendas, it becomes truly 'impossible'

I never felt overwhelmed though. What I did feel was underappreciated which was unfortunate because what we were going to do would've been extraordinary. I was consciously going to try and take the piss out of the 'Bourne' series and we were so close...then, for reasons too vast and varied to get into here, I had to bail.

Would I work with Tom again? My younger brother is. He just wrote the script that Cruise is starring in next.

Part 2
Hey Joe.

A fan from France here. I don't know whether Mr. Carnahan is at liberty to talk about it or not but I was wondering if he could tell us more about what he intended to do exactly on MISSION : IMPOSSIBLE - 3. Whether it would have been shot in a gritty style (as with NARC) or maybe with a little more polished cinematography (as with TICKER) ? Would it have been closer to the original TV series ? How would he compare it to recent spy/government agent flicks or shows such as the BOURNE franchise, 24, even CASINO ROYALE and, of course, De Palma's and Woo's and especially Abrams' MISSION : IMPOSSIBLE movies? Since they too have tried to explore the genre with a more down to earth, even dark, approach.

Plus, I never really got who was going to write it. I heard there was an extraordinary script by Frank Darabont that got written. Was that for David Fincher? For Mr. Carnahan? Before J.J. Abrams?

Ok so it's not exactly ONE question but I'm really curious about what could have been and hope you guys can give us some answers.

Thanks in advance and keep up the good work!

Robert Hospyan.

Robert:

We were going to absolutely take it gritty. I had told Tom and the studio that I wanted the 'Punk Rock' version of the series and I wanted to kick the shit out of the 'Bourne' series which I feel is so good and so smart. It seemed a perfect standard to try and vault if we could.

We were going to Africa with it. We were dealing with Private Military.

We had Kenneth Brannagh and Carrie-Anne Moss and Scarlett Johansen and easily the most kick ass story of the bunch. The real great script was the work of Dan Gilroy, who, oddly, is the younger brother of 'Bourne' scribe Tony Gilroy. He wrote a helluva draft that would have elevated that whole series to another level. It was very much a throwback to the TV show. Five people, working in tandem as opposed to one guy and a bunch of assistants.

Hope that helps a bit.

JC

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Joe,

Really loved Narc and can't wait to see Smokin' Aces. As I'm in Dublin, Ireland, I fear it won't be till mid next year until I do. Speaking of which, I'm an editor, producer, writer by trade and I'm really interested in the way you edit and construct your sequences. The indication from what of I've seen of Aces is the pace seems to be radically different from Narc. How do you go about the construction of and what do you edit on, AVID, FCP? Also, rumor has it that a Dublin animation company did your opening sequence for the movie, true? Good luck with the movie. Look forward to hearing your comments.

Thanks, Adrian.

Adrian:

Voodoo Dog out of London did the opening and closing sequences.

Sorry man, as a fellow Irishman we're always dubious about the Brits, but I love 'em and they did standout work.

In terms of approaching the work, I always go at it with a pretty clear thesis. I don't believe in just cutting to cut. I think every scene and every sequence has to have a clear creative mandate and I went at 'Smokin' Aces' in a very direct, deliberate fashion. I think if you're just throwing images and different angles together, you wind up with horseshit. Sure you can follow the progression of the story and I guess there's momentum there, but it's awfully empty and doesn't do anything beyond accomplish a kind of 'collage' that pushes the story. It just doesn't push it in the ways that make sense to me. First and foremost, from the characters perspective. I tried to make each sequence in Smokin' Aces reflect the individuals characters.

And if you see the flick, I think you'll see what I was going for.

JC

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Joe:

I still remember seeing Narc in theaters when it was first released and I've been waiting (too long now) for your next film.I was wondering if you could spend some time talking about the development process of Smokin' Aces. Under what circumstances did you conceive of and write the script? Are the characters in the film written for specific actors, and, if so, which actors did you write for? (As an avid observer of all things Hollywood, it's easy to note that Ray Liotta had a major role in Narc and shows up again in SA, so I would naturally assume a relationship between the two of you was formed...) How does one go about putting together such an amazing cast?

The trailers for the SA advertise a film that is rife with manic energy... is it difficult to keep that kind of energy up during a film shoot? With so many characters coming and going (in the trailers at least), was it difficult to give everyone screen time while editing the film?

Can't wait to see this thing in Jan...

Ryan Campbell

Ryan:

I really started with about thirty pages that I wrote way back in '93. From there they just kind of gestated and grew till finally I felt comfortable developing those ideas out into a feature. My biggest influence was really my running fascination with Frank Sinatra and his alleged mob connections. I always thought, 'wow, what if he just decided one day that he wanted to parlay his status as a big Hollywood star, into the criminal world. What would happen?' That was really the genesis of the whole thing. Working Title had purchased those initial 30 pages and really helped me develop it and waited patiently as I toiled away on a couple other projects.

In terms of writing for specific actors, no. I never do. Although I knew I wanted Ray Liotta (who remains the ace of my staff) in there somewhere, I wanted to keep it fluid until the end. The script itself allowed for a lot of characters to participate, so I think everyone wound up with a good chunk of film in the end.

The set was a blast. I run a really fun, loose, energetic floor. I let everybody do their thing and try to keep things positive and propel the day along. 'Narc' was far more stressful and appropriately so, given its subject matter.

JC

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questions for the amazing Joe Carnahan...

1. Is any movement currently being made on your remake of 'Bunny Lake Is Missing' and if so do you still plan on shooting it before 'White Jazz'?

2. Are there any other novels that you would love to be able to adapt?

3. Would you ever consider doing a science fiction, fantasy, or horror film?

Thanks for you time,

Daniel

Daniel:

Bunny Lake looks good man and I can't say anymore than that. If it comes together, it will happen before WJ, but I won't do anything to jeopardize the amount of preparation we need on that.

I would've loved a shot at adapting 'The Corrections' Jonathan Franzen's novel, because I adore that book. Some lucky bastard beat me to it.

I actually have a great horror film I'm writing with a friend of mine right now and a Sci-Fi action film that I'm going to do on Spec in the next six months. I love those genres and have just never given myself the chance to explore them.

JC

Part 3
Joe,

What's the biggest piece of advice that you'd give someone who is actively trying to start a career in film after film school and already living in Los Angeles?

-Jay

Jay:

We haven't figured out anything that beats straight hustle. Put your head down and prove to yourself that you can do it. I said this in another response, but it's never been easier or cheaper to make a really high quality short film and moreover, a feature. That's what I would do. I would concentrate all my efforts on trying to do something long form that proves you can tell a story in three acts. Shorts are fine to show to your folks and they can certainly give hints to your underlying talents, but nothing says filmmaker, quite like the feature. It may seemed far-fetched, but it's really not. I made 'Blood Guts Bullets & Octane' for about $7500.00 and did so, for the very reason I gave you. To showcase my abilities (or lack thereof, depending on your feelings for that film) at that level. The advent of digital technology has put all this stuff within easy reach. I wouldn't even mess with 16mm anymore, when HD is sitting there and can be manipulated in so many magnificent ways. The possibilities are out there, you just have to run harder at them than the next guy.

JC

________________________________

Got just one question for "The Joe." I had another one previous, but, it already got asked (inspirational crime films).

So, I must ask: Smokin' Aces. What kind of action scenes are we talking about? Are we talkin' classic John Woo bullet ballet or are we talking crazy over-the-top 80s/90s Hong Kong (which, with the characters, it seems to have)? Maybe the more modern "close-ups for intensity" style, which is good but can sometimes get irritating? (no offense intended, 'course! I'm just nitpicky) Perhaps a more straightforward Walter Hill style, low on slow-motion but high on dynamic shots? Or is it all-across the board, giving a flavor that can't be defined as anything but "the whole bad-ass kit'n'ka-boom-le" due to its variety? Yes, this makes it seem like a bunch of questions, but it doesn't hurt to be specific! :)

The trailer shows us a taste, a really good taste, but without seeing a full scene in context, it's hard to say. So my question is very much what "type" are we gonna see? I love me a great action film, a genre I feel hasn't been done well too often in the last 10 years, and although I have faith and belief in the potential accomplishments of Smokin'Aces, I do worry as I'm known to do.

Just asking, as one action flick aficionado to another.

Regards and thanks,

~Chris J.

Chris:

You're going to see my attempt to try and push the form forward.

To try and tweak the genre and goose it into areas seldom seen. I've tried to make an insane, over-the-top, emotional, thrill-ride of a flick.

A drive-in movie with brains and balls and whiplash changes in tone that you don't necessarily expect. The gears that you're going to need to go through as the viewer aren't easy to find, but I have full faith that if people really let the film overwhelm them, then they'll engage and actually enjoy the bumps and bruises it gives you along the way.

If I could splice Fellini & Peckinpah & the Coens, the result would be Smokin' Aces.

Hope this helps.

JC

___________________________________

I know you said you wanted to weed out only the best questions...and just so you know...this ain't one of 'em...but I HAVE to know how it was for Joe working with my guy Martin Henderson. All the ladies and gay men at www.martinhenderson.org wanna know. :) Thanks.

xo

Rachelle

Rachelle:

Gay men stand back! He's spoken for! Martin and I are getting wed in about two weeks in a semi-secret ceremony in Vermont, so....HA! KIDDING!

I'm sure Martin would be thrilled to know that he's equally adored by all sexual orientations.

Martin is a such a pro and his work is such a beautifully comic counterpoint to all the madness in the film. He shares two of the most memorable moments, at least in my mind and acquitted himself brilliantly. I would leap at the chance to work with him again. Also, just a dear, sweet guy who carries no pretense whatsoever.

So there you go, you can all start crushing on him all over again!

JC

______________________________________

Hey Joe,

First off, I have to, like everyone else in the Chud-o-Sphere, mouth off about my love for NARC, so I guess that sets up my first question. We're living in a cinematic age where everything is inevitably post-modern. Short of clubbing baby seals, it's all been done. But NARC is the first film I've seen in ages that actually transports itself back through to its roots. It seems like something Friedkin or Lumet might have directed back in the day.But it has its own unique personality. Did you set out to evoke that gritty, naturalistic 70's aesthetic, or did it just so happen that your instincts for that particular story produced something that felt at home in the time of long takes?

My other question is, what's doing with KILLING PABLO? Are you off that project or is it just still gestating? It's great material.

Good luck with WHITE JAZZ!!!!

Thanks man,

Mike

Washington DC

Mike:

Brother, I did everything short of convening a seance to try and stir up the ghosts of 'The French Connection' and 'Serpico' and urge them to inhabit every part of NARC that they could. I think I was really trying to capture the spirit of those films in everything from the lighting and photography, to the way the characters dressed. I didn't want the film to date itself. I wanted it to stand up well against age and I hope it does. Ultimately, it's my paen/poem to the police procedurals of that era. It's funny, when I watch it now, I can put enough distance on it to just enjoy it as a movie and it really does have this unique sense of time and place. We were really lucky on a lot of levels and had two incredible actors to ride with through that flick. I'm glad you enjoyed it.

In terms of Killing Pablo, I am going to be starting that film (fingers crossed) right after I do 'White Jazz' at the end of next year. That would have us starting in the spring of 2009.

I remain deeply, deeply passionate about that film and think the script is probably the best thing I've written up to this point.

JC

______________________________________

Hi Joe,

As a big fan of Narc and seeing the trailer for Smokin' Aces, which does look smokin' by the way, I was wondering what happened to you between the two films? How come your hiatus between them was so long, what was you doing, writing a bunch, having a break? It's good to see you back anyway and can't wait for the new flick.

Kind regards,

Nas Ahmed

Nas:

You share the name of one of my favorite rappers, so you must know your shit! I got bogged down in some stuff, including an extended stint on 'MI3' which took up quite a bit of time (not bitching about it, merely mentioning it) and I wrote quite a few things and toyed with some stuff that ultimately didn't come to pass. I also was trying to raise my kids and be around a little bit after spending so much time away, frittering away on movies that, in retrospect, I shouldn't have been involved with to begin with. There's a budget range that I'm comfortable making a movie at and Smokin' Aces represents that range: One that gives you a lot of creative control and let's you make something without a lot of compromises and studio interference.

It's good to be back though. I'm still the luckiest bastard I know and it'll stay that way, if I have anything to say about it.

JC

Part 4
Morning Joe

Love your new site

Three quick questions

What was your main inspiration for Smokin' Aces?

Jeremy Piven looks perfect (just by the trailer) for the Role of Buddy?

Was he your first choice?

Speaking of Casting. While writing a large cast film like Smokin' ,who seems to have many stylish characters with their own quirks... Did you know who you would approach as actors?

Keep up the awesome work Joe.

ciao

Cobalt

Cobalt:

That's a name you walk through a door with man. You arrive late to whatever meeting you want with that name. 'Tell 'em fucking COBALT is here!' Nice.

Okay, My biggest influence, as I said in another post, was really my running fascination with Frank Sinatra and his alleged mob connections. I always thought, 'wow, what if I just decided one day that we wanted to parlay his status as a big Hollywood star, into the criminal world. What would happen?' Smokin' Aces kind kicks off from that.

Jeremy just happened to land in my lap at the perfect moment. There were a lot of names being bandied about but when you get to kind of the best actor for a particular role, your hard pressed to find someone better than Jeremy. He spent a lot of years being the go-to guy and pouring in 25 points off the bench and there's a reason: He is a uniquely profound talent. I just can't imagine anyone else playing Buddy.

And finally, no, I never know who I'm going after when I'm writing a character. That's what keeps it constantly fresh for me. I like not knowing these things and discovering the different names and faces along the way. Nobody else could have played Darwin Tremor but Chris Pine. That is singularly his role. Early on, I had great difficulties with an actor who will remain nameless, who was originally going to play that part. I came to the conclusion that this guy's heart wasn't in it and so I made the decision to dismiss him.

Chris Pine comes along and I thank my lucky stars that the original actor fell out. It could've been disastrous otherwise.

JC

_____________________________________________

Joe,

On average, how many takes did you do for each setup? And how long did it take you to write the first draft of the script for ACES?

Thanks,

Ike

IKE:

I don't like to shoot tons of coverage. I think it's a chickenshit way of shooting and ultimately, feels like you're trying to write something with ten pencils, instead of one. Now on action stuff, you need a lot of coverage, so that's different. I don't follow the wide/two-shot/single/single kind of way of shooting either. I know what I need to make the scene work and don't like to complicate a workload by adding additional angles that I know I will never use.

The first draft of the script took me about seven months, on and off. The last part of the script usually flies for me and the 3rd act typically takes about two weeks.

JC

______________________________________

Joe,

I recently saw Blood, Guts, Bullets, and Octane for the first time on Sundance the other day and I was wondering what your influences were for that film versus your influences for NARC which seemed like a very different style? Though both were gritty and there were some handheld shots one seemed to exist in the real world more then the other (which seemed to be in a more pulpy noir environment--which Smokin Aces appears to be as well).White Jazz is my favorite book by Ellroy and so I'm very excited to see the film!

Also, please try and convince Universal to invest in Blu Ray discs since that is what I'm about to put my money in...I'm positive I'll buy Smokin'Aces but I'd prefer it on Blu Ray!

-Jeff Gittel

Jeff:

BGBO and NARC are radically different in about every way. One is more hyper real, whereas the other is very much grounded in muck: The harder, nastier facets of life. BGBO came out of my early fascination with David Mamet, in particular, 'Glengarry Glen Ross' and 'American Buffalo' I loved the slang and shit-talking his guys engaged in. BGBO was an extension of that, because it was so heavily expository, it looked like a play on the page. NARC was equally wordy, but I was trying to ground it and make it very prosaic and relatable. It was really a reflection on my life at that moment and what I was feeling and going through. I have every intention of making WHITE JAZZ in that same way.

I think we've romanticized Film Noir to the point where we've made it almost inaccessible. White Jazz should have all the stylistic and historic earmarks of noir, but it needs to be covered in a kind of contemporary dirt and grime. It needs to embrace its audience on that level and not turn into this kind of staid museum piece. This empty homage to the films of the '40's and '50's.

That's no fun.

JC

____________________________________________

Hey Joe

I heard that Ed Exley is a major character in White Jazz, I've never read the book so I don't know if he is in fact in it. But if he is and if you do plan on using the character, Are you planning on asking Guy

Pearce to reprise his role? Can't wait for Smokin Aces.

Jalyn, Seattle WA

Jalyn:

I've had one wonderful meeting with Guy about that very thing. He was someone I really wanted and I hope we can make it work.

JC

___________________________________

Mr. Carnahan,

Lawrence Block's Matthew Scudder is my favorite fictional detective, and you were once signed to do an adaptation of his novel "A Walk Among The Tombstones" with Harrison Ford. I know Ford dropped out due to creative differences, but what would have been your approach to this project and do you see yourself returning to the Scudder character in the future?

Best,

Brendan

Brendan:

Bro, just to set the record straight. I dropped out due to creative differences, not the other way around. Publicists have this incredible penchant for spin, so just like the instance with MI3, where accounts may have got muddled and revisionist historians given free reign to retell these tales, let me say it again:

I stepped aside on that one. Not to sound like some asshole because that's not my intention. I just want to be able to tell the truth, more often than not.

I loved Scott Frank's script and I wish it could've happened. Who knows, maybe down the line we can revisit that. I share your enthusiasm for Scudder and know it could be a great franchise if placed in the proper hands and really developed right.

JC
Part 5

Forgive me if someone's already asked this, but what prompted you to start shaving your head? Just tired of washing your hair? Lice? Or do the ladies like it?

Daniel

Daniel:

A combination of bad personal hygiene and a rare, incurable form of Herpes that attacks the hair follicles at the root. This is what caused me to shave my head initially. Afterward, I just grew fond of what the girls call 'that bristly feeling' and kept it up. KIDDING. No man, I originally lost a bet with my dad on the golf course. He said I would never shave my head because it was 'shaped like an egg' I bet him on the next hole and he (shaving strokes mind you) beat me and I chopped it all off. I love it because it is virtually maintenance free and becomes a barren breeding ground for dandruff and other embarrassing hair-related conditions. That said, I'm sporting more hair right now than in the last six years.

Glad you liked BGBO and NARC. You will most certainly dig 'SMOKIN' ACES'.

JC

___________________

Joe,

While I can't wait to attend my advance screening of Smokin' Aces come early January, all I've been able to think about is White Jazz, especially the decision to cast George Clooney in the role which is the best casting news this year next to Robert Downey Jr. as Iron Man. Props to you sir.

Since you'll be tackling a very noir piece from such a noir writer, what are some of your favorite works from the film noir genre, let's say Top 5?

Also, since it is a James Ellroy adaptation, how do some of his prior adaptations stack up in your eyes, in particular L.A. Confidential and The Black Dahlia?

Thanks man and keep up the great work! -

Chris Wisner

Bloomington, IN

Chris:

Top 5 noir films of all-time? Man, this is always a minefield, because invariably I wind up with one glaring omission that pisses me off after the fact. I'll give it a shot anyway. These five, in no particular order, leap to mind. I consider these straight Noir as well.

Blood Simple
The Long Goodbye
Chinatown (overrated, but I still love it)
Tokyo Drifter
Stray Dog

Hope that helps man. Let's see if we can jack 'White Jazz' into that group when it's all said and done.
__________________________________

Joe,

Concerning the violence in your films- Narc was a gritty, violent piece of work, and the word on Smokin' Aces is that it's supposed to be even MORE violent than Narc. What I wanted to know is: did you encounter any trouble from the MPAA over either Narc or Smokin' Aces, and what tips would you give to fledgling filmmakers on how to sneak in violence past the MPAA?

Thanks,
Josh Katz

Josh:

I feel like we live in a largely puritanical society and things like violence and the depiction of violence in films are such hot-button issues that they become cause celebre anytime a hard charging politico hellbent on holding office, or some douchebag evangelical looking to lead the moral charge on behalf of Christ needs their name in print. It's ridiculous. I'm not a violent person, but when you're telling a story that involves hitmen, mercenaries, feds, cops and a million dollar bounty...somebody is getting hurt. Blood will spill, bruises will bloom, bodies will drop. That's the sum of that equation. I'm not a proponent of, nor a staunch advocate for violence in films. However, if it is necessary to the telling of a particular story, then I will not flinch, or shy away from my responsibility as the filmmaker to depict it in a way that's befitting and appropriate to that end.

And I wouldn't try to do anything slip violence by the MPAA. Hit 'em with everything you've got. It's the most honest way of attacking them and often times, a direct approach beats an end around.

JC

_______________________________

Joe,

Let's say you're writing and directing something - adaptation, original screenplay, snuff documentary, whatever - and you're given a golden key to pick and choose your cast and crew from great filmmakers throughout history. Who would you pick and how would you sell them to the studio? (Price to pay for the golden key, you know...)

Leading man?
Leading lady?
DP?
Editor?
Composer?
"That" guy? (You have to have one)

Certainly you can hire a co-writer or an AD or some shit if you want. It's your flick, after all. But you've still gotta sell the people in suits.

Mike
Washington DC

Mike:

I'm sure this sounds trite and corny and lame, but at least it's honest. I would take everyone I had on 'Smokin' Aces' (Which I'm essentially doing on this next film) and roll them right into whatever dream project I had. I think establishing a short hand with a crew, trumps getting an all-star line-up culled from cinema's illustrious past. The legions of filmmakers I've admired got where they got with a combination of hard work, straight hustle and pure guts...and there are egos involved to be sure. I wonder if combining the best from all those fields wouldn't in fact hurt the process. I think if you want results you stick to the people that brought you to the plateau. The only 'Guy' as you mention, that I would throw in, purely as a ringer...would be a Paul Newman, circa 1967, in 'Cool Hand Luke'. We've never had another one like Newman and we probably never will. I want to work with that man in the worst way. He looks as healthy as a race horse, so maybe I'll get my chance someday soon.

JC

Was getting the script of "Narc" to Ray Liotta the first major step you took towards getting "Narc" produced? And how did you approach getting it to him? Directly through his agent? Or through your own? And how important of a role did "Blood Guts Bullets and Octane" play in attracting financing to "Narc"?

In my personal opinion, Narc was a seminal breakout film that I constantly reference in my own career pursuit. Great job and I can't wait to see what's next!

Thanks,
Eric

Eric:

Ray was hugely instrumental and influential in getting NARC brought to the big screen. We happened to be sharing (and still do) an agency at that time, so it made it easier to get the material to him. BGBO was more of a detriment to getting NARC made because the tones of those two films were so radically different. I think it actually might have proven easier to put NARC together, had I not made BGBO. People in this business don't exercise their imaginations regularly, so you wind up with these ruts where nobody can see outside this narrow little prism and recognize talents that may lie beyond a certain film or genre.

I'm glad you loved NARC so much. You will definitely dig SMOKIN' ACES. It's a lot different, but some recurring themes seem to still pop up.

JC

_________________________________________


Would you rather shoot on HD or film for a movie? So thrilled about Smoking Aces. I was very disappointed that you didn't get to direct the Pablo Escobar movie.

Matthew


Matthew:

Despair no further. KILLING PABLO will probably happen as soon as I wrap WHITE JAZZ. I am obsessed with that story and have absolutely no intention of letting it go. Don't worry.

And in terms of HD versus film. I think the dawn of HD is upon us and as much as I love film, I think it's rapidly becoming a horse-drawn cart in the dawn of the horseless carriage. We've got bold, brand new technology at our fingertips and it's very, very exciting. Having worked with the Panavision GENESIS, I can say without equivocation, that what that format is capable of capturing in low light situations and particularly at night, is nothing short of stunning. I mean it is really incredible what this thing will do. So much so, that it almost makes up for the fact that it's pretty flat in daylight and I think you can still make a compelling argument for using film in those situations.

JC

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Hello Smokin' Joe,

I am more than impressed with your first two features and have returned to both films repeatedly.

My question is: from film fest hit with your first - to indie hit with your second - to now having a full plate of projects on your schedule - how have you been able to continually elevate yourself and your projects - post BGB&O, what were the steps for funding Narc? How were you able to bring Ray Liotta on board? I haven't noticed any continuing producers on your projects - how hands on are you in terms of producing - and other than yourself and Tom Cruise (I understand he assisted in getting Narc on screens), who has been your biggest supporter in a business sense?

To be more precise, other than knocking each of your projects out of the park, what has been done behind the scenes that has given you the opportunity to move forward?

Hope that's not too large an area to cover.

Thanks for any insight,
Cole.


Cole:

Jesus dude, that's like fifteen questions, masquerading as one! I don't know where to begin without turning this answer into a endless tome of boring anecdotes and self-congratulatory flagellation. BUT I WILL TRY!

Here's what elevates projects...MONEY. The money draws the real professionals and makes sure they are fairly compensated. This is muy importante! Whatever shortcomings I have as a filmmaker (and they're significant!) are easily remedied by having the top people in the business associated with my movie. Tom Cruise is a great case in point, since I believe he took NARC on his back and saved it from being relegated to the art house circuit and forced Paramount to open the movie, just like any other movie opening. This was huge and I owe a huge debt of gratitude to him today.

As I digress even further. No. I have no interest in working with the producers from NARC. I think they were basically decent (if not somewhat dishonest) people that don't deserve another shot to screw things up so thoroughly.

Sorry. Life is far too short.

JC

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Joe, can't wait to see Smokin' Aces and really enjoyed Narc. And I find it super cool that you interact with us ordinary people like this.

I just have a couple of quick questions for you.

1) How has it been working with your brother Matt in your upcoming
projects?

2) Any plans to throw in some midgets on bass boats in any upcoming flicks?

Talk to you later cus'

Steve


I'm glad you dug NARC. It's a film that's obviously very close to my heart and remains as much today.

My brother is both princess and ponce and often refers to himself as'delicate'. He's been a massive pain-in-the-ass all the way around and a meltdown of colossal proportions seems to be looming on the horizon for him....KIDDING!

My younger brother Matt is truly a genius. We bandy that word about like it doesn't mean anything, but it does. It especially does when you really see someone who is gifted in ways that the layman can't imagine. I think he's something else and would, even if he weren't my brother.

And anytime you combine both my love of angling, with a livelong fondness for midgets, you're officially cooking with gas...I'M IN!

JC

Hi Joe, I loved your work on Mission: Impossible III. Especially the part where the film stopped and I was audited. Anyhow? Aces looks like a blast. If you ever want to screen it in Atlanta for real badasses, we're up.

I¹d like to know what Friday night at Smokin' Joe's is like. I know you¹re a dad, but anyone who¹s able to suppress the sheer wattage of Affleck, Reynolds, and Liotta and survive has to be either brilliant, insane, or not really a Caucasian. BTW, thanks for changing your email address about 4 years ago.

Nick Nunziata

Nick!

Are you an Original Thetan! You dog! Friday nights are kegger night at the Carnahan house. I like to eat raw steak and tap a pony of St. Ides before putting in 'Titty-Titty-Bang-Bang' on a loop. Then I release my cellar-kept Thai lady-boy and have him perform aerobatic stunts (sans safety wire) from the rafters of my vaulted ceilings. Two broken femurs and a Grade 3 concussion cost me Friday nights performance after he assured me he could go from a falling Phelps (triple somersault) and land in full pose Arabesque! Wrong! That little fucker came down like he had a grudge against gravity!

I get stuck with no beer buzz and an emergency CatScan bill. Back to Bangkok
You're banished! That's fifteen G's in out-of-pocket medical! I'm going back to my normal Friday of slow-torturing small animals with old Polka standards.

JC

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Hey Joe,

First thing, I think your decisions to get out of MI3 and other projects that probably just weren't feeling right is pretty cool. While others call it creative differences and bad personalities, I commend you on working on a film only when it feels completely right. Being the director, you have to love the material and the course of the production to make the best possible film. In that regard, I think you are first class, Joe.

Anyway, getting to the point, I loved Narc and have been waiting for Smokin Aces to come out. Honestly, when I heard Piven and Carnahan, I instantly forgot about every other upcoming release. Which gets me to the my first question.

I am a big fan of Piven and George Clooney, the star of your upcoming film, White Jazz. Do you decide to do a film based on the actor, or is it all story? What do you think Clooney will bring to the film? Do you enjoy working with great character actors like Piven, Ray Liotta, Jason Patric, Andy Garcia, and Peter Berg. How much interaction goes on between actors and directors on a live set? Do they just come with the script and go, or do you try to push them in a certain direction?

My last question is about writing. What is the best thing to do when you are in the middle of a script or story and you hit a huge roadblock? Is it good to write the ending or just wait?

Thanks for your time, Joe. I can't wait for Smokin Aces, and soon after will be counting the days until White Jazz hits theaters.

Take care,

Dan Buffa

St. Louis, MO.

Dan:

Glad you're a fan bro, cuz' FUCKIN' DO I NEED 'EM RIGHT NOW!

Kidding.

I love working with actors period, regardless of their fame, prestige, etc.

I've been very fortunate to work with some pretty amazing ones thus far and I hope this is a trend I can continue. In the case of White Jazz, George just really responded to the script. He was my first choice for Klein and if you're familiar with the book, he's pretty much pitch-perfect for that role.

He's of equal age and demeanor and I think Clooney has wonderfully deep reservoirs of malice and rage that we've yet to see. I think he's going to blow it up and I'm going to go for a visual style that is hopefully something we've not seen. At least not from these types of films. All actors are artists and and as such, you have to treat them always as peers and contemporaries and honor whatever contribution they bring. I am as open and available as I can be and welcome whatever they come into the process with.

Lastly, in terms of your writing, whenever I'm stuck, I really try to read as much as I can. Books, periodicals, etc. I get some of my best inspiration from reading. It's always helped me push past those blocks in the past.

Hope that helps.

JC

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Hi Joe, I'm a big fan of yours! I love NARC, and I'm really looking forward to SMOKIN' ACES. But what can you tell me about FACELESS -- what happened, what went wrong? I've read the script and seen the pilot, and I absolutely fuckin' loved it. FOX really blew it, that's for sure. But, would you consider doing another tv pilot?

Geir

Geir:

I know man. It bums me out, no end. They also didn't treat Sean Bean with what I consider the necessary TLC. They didn't appreciate that this was a major film actor, basically responding to material and agreeing to commit to a series that may have been on the air for five to six years. Dario Scardapane wrote an amazing piece of material and they just went out of their way to fuck it up.

The original script and my original director's cut were, I felt, fantastic. It was this wildly intercut story told one year apart but edited as though it were happening simultaneously. I wish you could see that one brother. It was something.

I actually just finished a script that Joel Silver and I are producing called 'TheDouble' that I want to get on the air STAT! Very exciting police procedural stuff and it returns me to my 'Narc' wheelhouse which I feel comfortable in.

JC

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Hey Devin (And Joe. Eventually. Hopefully.)

Very excited about "Smokin' Aces", can't wait to see the end-product. Love the blog, and - being a designer myself - definitely love all the posters that have shown up over here. It all looks very promising and sexy and violent and awesome.

Got a question for ya: What sort of soundtrack can we expect for "Smokin' Aces"? Will it be a collections of songs (Maybe in the same style we've heard playing in the trailers..?), or will there be an instrumental score? Or a mix of both?

Hoping to hear from you soon,

Willem


Willem:

Brother if you frequent the blog, just look at the left margin when you scroll down. Every song there is a part of the soundtrack. It's a pretty eclectic collection of stuff. Old R&B and Funk. Rock. Hip-Hop. Punk. We've got something for virtually every sonic taste out there.

JC

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Dear Mr. Carnahan, or informally, Joe,

As a gigantic fan of comic books, particularly because of their emphasis on dialogue driven stories and action, I always wondered what your stance on the medium was, and if you ever had any intentions to do a comic book film.

The Punisher seems like a film that would have benefited greatly from the Joe Carnahan treatment, and if you have free time, they're still looking for a director, I believe...but I digress. Other than that, what's in the pipeline in the future? Have you explored writing other mediums, like a novel, or maybe taking a character and working him over? I mean if Richard Donner can breathe life into Superman, I'm sure you could rock the shit on someone else. Anyways, those are my questions, and I just wanted to let you know that your work is some of the freshest and well put together that I've seen in some time, and that I'm looking forward to Smokin' Aces more than any movie in this year or the next.

Rafael

Rafael:

I just wrote all six stories for the 'Smokin' Aces' comic which should be available shortly in print and are available online and hopefully here at CHUD very soon.

I'm a HUGE fan of the medium and grew up reading everything from 'Iron Man' to 'Rom' and 'The Micronauts'. I was into the 'Avengers/West Coast Avengers' and personally own all twelve issues of Marvel's SECRET WARS series from back in '84. The best comic in my collection is Fantastic Four 'Thing Vs The Hulk' which is way back. I wish I had better stuff. I tried to get my buddy's 1st mint issue of 'Silver Surfer' but he wouldn't part with it...even after I offered oral sex. KIDDING!

Jesus, it's probably the only thing I WOULDN'T do for that comic. All in all, I'm kind of opposed to doing a comic book film, especially since my favorite 'Iron Man' has been taken off the market by Jon (Elf) Favreau. Unless you're doing something like Snyder is doing with 300 or what Rodriguez did with 'SinName CityType' it seems like a moot point right now. There's a proliferation of comic book stuff and at some point, it's going to overstay it's welcome.

JC

Joe-

NARC is a masterpiece and I'm looking forward to SMOKIN' ACES. I saw on your blog what you were listening to in the music section...DAMN! Any man that listens to SKULL SNAPS is a BAD MOTHERFUCKER. You got great taste, my friend. Keep up the great work!

Peace-

C-Doc

C-Doc:

Thank you brother. I pride myself on my musical snobbery. Putting that soundtrack together was such a joy and I think the songs in the film work really, really well. Enjoy!


JC

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Hey Joe,

No bullshit and accessible. Supercool. Anyways, here's a flurry of questions, answer as many as you'd like:

What was the budget for "Smokin' Aces"? How do you feel about shooting digital? I know Shane Black was an early inspiration for you -- what did you think of "Kiss Kiss, Bang Bang" and its under performance at the box office? What other filmmakers do you hang out with, if any?

Iggy

Iggy:

With that name, you must be class. Iggy Pop is my top three all-time and they're wouldn't be anything called PUNK if not for that man. Everybody, Clash and Sex Pistols included, have kissed that ring.

Smokin' Aces was roughly 21.5 million or in that rather inexpensive, condo/duplex type neighborhood (comparatively) and almost all of it went up on screen.

The actors, God love 'em were at one point being paid with menthol cigarettes and livestock. They certainly weren't doing it for the dough!

I dig Shane, but unfortunately haven't had a chance to see the film. These types of flicks (my own included) are sometimes difficult to market and if you don't have the right kind of advertising/publicity mix, then great movies can sometimes get lost in the shuffle.

Filmmaking friends of mine? Peter Berg, Gavin O'Connor, Jake Scott, Andrew Dominic.

Scott Frank. Just a few of 'em.

'Smokin' Aces' is definitely an action flick, but it's a lot of other things too. Just come in with an open mind and your thinking cap on. You'll have a blast. I promise.

JC

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Hey Joe,

Long-time fan. You've managed the impossible: to make a $7,000 indie film, and use it to break into the industry. Your success makes you a hero to many struggling filmmakers (probably the bulk of your fan-base) and helps us keep the dream alive.

Just wanted to ask you if there were any plans to produce a deluxe DVD of BLOOD, GUTS, BULLETS AND OCTANE anytime in the near future? I had the opportunity to see Mark Stolaroff from (the now defunct) Next Wave Films host a panel at a film festival many years ago. He brought several hilarious promo videos from BGBO which featured you (in a performance not unlike your birthday video for Harry Knowles). They were a lot of fun, and I would love to see these promos featured in a upcoming DVD release.

A commentary and the usual behind-the-scenes documentaries would also be most helpful and informative to those of us pursuing a similar career path.

Thanks for the inspiration,

- David

David:

I would love nothing more than to go back into BGBO and blow it up right.

It remains something obviously very near and dear to my heart. It's up to Lions Gate. If they were down to do some kind of deluxe thing, I would too. The problem is, only about seventeen people actually saw the film and nearly a dozen are relatives of mine. This poses a bit of an issue for a company looking to drop top dollar into a special edition DVD. I'm hoping that in spite of that, we do it anyway.

NARC is probably more likely to receive this kind of esteem, but again, I'd love to do it for BGBO. It's like a mutt that you just want to bathe and powder and put a nice bow on.

JC

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Joe, (yep we're on a first name basis here) I'm a big fan of yours like everyone else on here and I really admire you for answering questions on here. Anyways I'm also a big fan of Ryan Reynolds and I know he does a lot of improv. I was just wondering how much, if any, improv went into the making of Smoking Aces not just with Ryan Reynolds but with everyone. I know I didn't word this very well but oh well haha.

-Zach

Zach:

Ryan wanted nothing to do with my script and insisted on rewriting every piece of dialogue so could 'Reynold-ize' it. I had no idea what the fuck that meant, but we had already inked the deal and this fucker waited till I had film on him before he started throwing tantrums; demanding HUGE rewrites and hurling insults at me in the form of red sharpie marks that he made all over the script, assailing not only my writing choices, but my grammatical shortcomings as well. Everything came to a head one day when he beat me senseless with a dog-eared script in front of the rest of the crew. When I finally awoke, things seem to have simmered down and we went about getting onto the business of DAY 2 of shooting.

KIDDING!

Ryan is a consummate and I mean CONSUMMATE pro. He wouldn't even consider changing things and was incredibly communicative throughout the process. The great bits of ad-libbing he did were primarily in the van at the opening of the film.

He also has a great bit about a 'Cadillac that looks like a whiffle ball' which I loved and used. When you've got a guy who's that funny and that gifted on his feet, you've got to let him do his thing, and I did. You see him go through a ton of different tone shifts in this film and he handled himself like a stunt driver, weaving around things and hitting walls at high speed with equal aplomb. He's a fantastic actor and a guy I am determined to work with on something BIG in the future. I've actually got a spec that I'm writing with him in mind.

JC

Hey Joe-

First of all, please let me say how much I loved Narc - being a fan of seventies cinema and especially The French Connection, I just loved some of the atmosphere, the grittiness and the feel being transported into our present. I was very, very eager when I heard that you were going to make M:I:III - being a fan of Brian De Palma's first film and the TV series. I'm a bit fed up with the Guy Ritchie style of comedy-gangster-movies, but even more excited about what you might milk out of the genre. As I'm a wannabe filmmaker I'm currently writing on a script with which I'm trying to be in the same vein as Narc, without copying it, of course. It's supposed to be a gritty cop-/drugtrade-story, which takes place in the city of Hamburg>, Germany>.

Now, what brief advice would you, being a master of the trade, give me when it comes to handling crime-drama? Where do you see the emphasis: plot structure or character development? How do you tread the fine line between cliché and irrelevance when it comes to the characterization and dialogues?

Anyway, thanks for Narc and the best of luck with Smokin' Aces!

Christoper

Christoper:

First off, when you go into Smokin' Aces, you have to go in with an open mind because a lot is being attempted in the film and there is a metaphor at work that until recently I hadn't chosen to comment on. That metaphor should make itself fairly apparent if you pay attention to the way the film unfolds, which is this:

Misinformation- Chaos ensues- violence follows- betrayal- denouement.

That's the working order of the film and hopefully it reminds you of something that's going on in the world today. So, in long-ass answer form to your relatively short query on Guy Ritchie. No. It's not like that film, or a Tarantino film for that matter. You just have to use your imagination.

In terms of NARC- styled police procedural set in Hamburg, Germany

All this critical nonsense about ‘cliches’ is just that, total bullshit. The reason these tropes exist is because they have been bore out and proven over time: Cops lead miserable lives and have erratic marriages. They are often times obsessed with their work. They deal with drug and alcohol dependency. These are all not only common, but almost endemic to that life. It’s the way in which you choose to depict these things and the spin you bring to them that’s important. Don’t opt for pointless irreverence in lieu of honesty and emotional veracity. NARC is not a perfect film, but it is one where the characters have great weight and integrity and that, more than any opening chase or pyrotechnic display, accounts for its staying power.

JC

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Joe,

First off, I just wanted to say that to see somebody who has achieved cinematic success like you have and still take time to address the fans in the many, many, facets that you do, it's downright inspirational. Thanks. Secondly, I have been pumped about Smokin' Aces ever since I first saw that it was in production, so the fact that we are only a couple weeks away from the release here in the states has me like a kid on Christmas eve! (Billboards all over LA baby!)

Onto the question: while both BGBO and Narc were populated by impressive performances, Smokin' Aces is packed from head to toe with "star" actors (Piven, Affleck, Common, Alicia Keys, Bateman, Reynolds, Liotta, Garcia, and PETER BERG!) to a crazy extent. How was it going from these "smaller" pictures (though it is hard calling a cast that includes both Liotta and Patric small by any means) to suddenly managing this much more complicated and larger group of very distinctive personalities from your cast? Did you have to make adjustments that you weren't expecting or was it a pretty seamless transition?

And finally, I read in an interview that Narc was you're sixteenth script, and it seems that you write alot on spec. From somebody who is trying to grind his way into the business in a similar guerrilla fashion, had you the chance to do it all over again, would you have changed your tactics at all? Or do you think that putting your balls right out there on the chopping block is simply the best way to go?

Thanks a lot, and I can't wait for Aces to blow me out of my seat!

-Nick
Burbank, CA
Nick:

Everybody came to the Smokin’ Aces pool party ready to swim. Nobody brought any unnecessary ego or baggage along and as I have said before, it remains my single best professional experience. They all acquitted themselves beautifully and became those roles, rather than the roles becoming them. It was a blast.

Now as far as cracking the gigantic nut known as ‘the biz’ you gotta be part Panzer Tank part Safecracker and all unstoppable. I’m serious. Don’t allow yourself to be impeded or jammed up in the slightest. Don’t have friends around who shit-down your ambition and dreams and tell you to keep you day job. You have to consider yourself a single-soldier-Army and mount your assault accordingly. Trust me, you get after people, pester them, stay persistent and consistent and eventually they will get on the phone with you, if for no other reason than to tell you to ‘fuck off’ themselves. You gotta grind ‘em son! You gotta get on their ass and stay there.

You must stay working as well. Always writing, always directing, always auditioning. No matter what your individual calling, you must stay in constant form, just like an Olympian. Your training is your typewriter, or your mirror, or whatever you put in front of you in the off hours to make you brilliant when the time comes. I don’t want to sound like some lame-ass fitness guru, but all those philosophies apply: Hard work. Determination. Devotion. Dedication. Words without deed, without action, remain words.

JC

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Mr. Carnahan,

You mentioned earlier that you would have loved to take a crack at adapting Jonathan Franzen’s The Corrections. I’m really curious about how you would have approached that novel. What would have been your focus? What would have stayed in, and what would have stayed out? What, if anything, would you have changed? What interested you in the novel to begin with? I thought it was great, even though it seemed to unravel a bit towards the end.

Good call on The Make Up track on your site, too. Did you ever catch them live? I saw them in DC way back in ’96; they were insane.

Chris Cotterman
Baltimore, Maryland>

Chris:

Has a more fucked up family ever found its way into cotemporary fiction like The Lamberts? This might be one of my all-time favorites. The way that Franzen was able to balance the very real familial issues and interpersonal ebbs and flows with the completely absurd (the talking/taunting turd that Al is confronted by as a figment of early stage Alzheimers) was impressive. I read that David Rabe was adapting this and go excited because he’s a helluva playwright. At one point, Stephen Daldry (Billy Elliott) was attached to direct so I think they’ve got a great team in place to do something sensational with that book. I would love to see Paul Newman play Al and someone like Helen Mirren as Enid

And as far as The Make Up, they were introduced to me by my prescient, brilliant Music editor Jim Schultz and if you see the scene we set their tune ‘Save Yourself’ against, you will appreciate just how perfectly it fits. They remind me of Ween, now that I’ve gotten into them:Vastly unheralded and unappreciated.

JC

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Hiya, I have a couple of questions for JC

I guess we're all fans of NARC and looking forward to Smokin' Aces immensely..Now that MI:3 is done and dusted and was somewhat disappointing, any chance your vision of where the series might go would get the green light? Obviously, legal issues and all to be considered, but is there a possibility that the MI:3 script you wanted to make might see the light of day even as another project? Or will it be lost forever?

My 2nd question is Who do you consider right up there amongst your talented peer group? Guillermo Del Toro, Zack Snyder, Craig Brewester, Alfonso Cuaron, Riaan Johnson etc..Whose work amongst the talented bunch do you personally dig and feed off creatively?

Thanks heaps from Melbourne> Australia> :-)
Rahul

Rahul:

I am either going to parcel out for parts, or just completely restore some of my MI3 script in a script I just started writing on spec. We were dealing with some pretty heavy things, Africa, Private Militia, Arms Dealing and I would love to explore those things more in another script and change the characters and settings completely (obviously, lest I get sued out the ass) in order to accommodate that.

In terms of my contemporaries: I think Guillermo is brilliant and you only need to see ‘The Devil’s Backbone’ or ‘Pans Labyrinth’ to confirm that. He’s also one of the most wonderfully warm guys you will ever meet; unfailingly polite and a true gent. Craig is a true Mack as well. Very, very talented guy. I was talking to him quite a bit when he was in post on ‘Black Snake Moan’ (which I’m dying to see) but I didn’t get a chance to go and kick it with him. ‘Hustle and Flow’ was fantastic and Craig is slowly creating his own brand. He doesn’t the Dirty South like no one else. And if you haven’t seen Rian Johnson’s ‘Brick’ then you haven’t seen my favorite film of all last year. This kid took the traditional noir settings and trapping and transplanted them to a Santa MonicaName High SchoolType. I was just waiting for it to turn into a city episode of ‘The OC’ and when I didn’t and he stuck to his guns, I was completely enthralled. This thing didn’t get near the love it deserved and I hope it blows up on DVD. I will be waiting, with baited-breath to see what he comes up with next.

JC

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Hello Joe:

Since you're not only a director, but also a writer, I was wondering if you have already written scripts ( which genres ) - besides the ones announced - which are ready for you to direct in the future?

Is it likely that you'll direct a third movie with Ray Liotta? He's an amazing actor and the combination is perfect.

Good luck with all your projects - I'm extremely excited about all of them.

Best wishes,
Bjoern

Bjoern:

There are a couple of things that I’ve written that I would like to see come back my way. Both scripts were written for Warner Bros. One is called ‘Miami’ which was my contemporary take on ‘Chinatown’ but set in South Beach and the other was a political-themed drama called ‘The Surrender of Washington Hansen’ which next to my script for ‘Killing Pablo’ remains my favorite. I’m hoping to either liberate both of them from development hell or get them going in some fashion. Right now I’m to the gunwales on this other stuff, so until I can clear my current schedule, I’m afraid they may have to labor in limbo a bit longer.

And I am trying to do something with Ray from now until the end of time. He’s my staff ace and has appeared in NARC, TICKER and now SMOKIN’ ACES. Ray has that rare quality of being completely accessible as an actor and bringing a kind of ferocity to his characters that we seldom see. Ray’s rage is real and you can feel it and the way he uses it makes him one of the most formidable actors of his generation.

JC

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